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    THE DISTRICTS are a four-piece indie rock band from the small town of Lititz, Pennsylvania. The group formed in 2009 while members Rob Grote, Mark Larson, Connor Jacobus, and Braden Lawrence were still in high school. The prolific young band released their first EP, Kitchen Songs, in 2011, followed by Telephone, their debut full-length, the following year. Now into their third LP, Popular Manipulations, the band has represented an exponential leap in sound and cohesion, an impressive and impassioned burn with a wide scope that threatens to swallow everything else surrounding it.

    The distinctly intense sound of Popular Manipulations—charging guitars, thunderous drumming, and Grote’s searing vocals—was brought on by a few cited influences, from shoegaze’s aggressive swirl to the Velvet Underground’s impeccable drone-rock sound. There’s a distinctly Canadian flavor to this brand of indie rock, too; Spencer Krug’s anthemic, lushly inscrutable work in Wolf Parade and his defunct Sunset Rubdown side project comes to mind, as does 2000s Toronto barnburners the Diableros’ overlooked 2006 gem You Can’t Break the Strings in Our Olympic Hearts.

    But don’t mistake easy comparisons for a lack of originality: on Popular Manipulations, THE DISTRICTS are in a lane entirely their own, exploring lyrical themes of isolation and abandonment in a way that ups the music’s already highly charged emotional quotient. A mix of jangly indie Americana and blues-inspired rock n’ roll baby. 

    KATIE VON SCHLEICHER rose from intern to artist on Brooklyn label Ba Da Bing with Bleaksploitation, a self-recorded 2015 mini album of irreverent, fuzz-laden tunes. On her debut full-length, VON SCHLEICHER strikes again on the magic that comes from her warped and uncompromising sound. Shitty Hits channels the bright, sunny radio burners of the 1970’s, songs you drive to, carefree, and songs you can cry to, which The Guardian describe as “Portishead meets the Beatles,” and NPR’s Bob Boilen calls “one of those constant repeat records for me."

    Conjuring the home recorded sound of Paul McCartney's McCartney or Jeff Buckley’s Sketches For My Sweetheart The Drunk, Shitty Hits was created on a tape machine at VON SCHLEICHER's childhood home in Maryland. Where Bleaksploitation courted a kind of sonic nihilism, Shitty Hits shows confidence, growth and unflinching self-realization. Inhabiting the roles of producer and engineer, VON SCHLEICHER cements her voice as one to be reckoned with, parsed and pored over, on an album that is “never less than beguiling” (Pitchfork).

    [Pitchfork] [NPR]